So that Bertolt Brecht and his Epic theatre would not be forgotten in the history of literature, have we decided to engage with the subject. In order to do that properly first, we needed to fully understand the contradictions and paradoxes in Brecht's theoretical writings, so that this theory could later be compared and analysed together with his plays Drums in the Night (1919), The Decision (1930), and The Resistible Rise of Arturo Ui (1941). However, we need to stress the fact that Brecht's theoretical work A Little Organum for the Theatre, The Street Scene: A Basic Model for an Epic Theatre and Buying Brass originated much later than the plays that we selected, what caused a methodical problem. Nevertheless, his later plays, like for example the didactic play from the year 1930, and the 1941 parable play contain quite a few epic elements, while the comedy Drums in the Night from his earlier work period exhibits rather classical elements. That time-critical, expressionistic piece shows in fact marks of epic elements, however these are not overall present, such as in the case of the play The Decision. If we take a closer look at the aspects according to the chronology in which Bertolt Brecht worked on his Organum, it seems that The Decision would be the closest to the concept of epic theater, but still can not be valid as a manifest, because that would mean that Brecht's theory is not accurately perceived. The pleasure that according to Brecht carries the sublime function of the theater can be divided into weak and strong. That pleasure was brought into connection with the drama genre, due to the fact that we are of the opinion that the more opened and complex the drama, the more stronger is the pleasure. That thesis is confirmed through Brecht's later plays, in which the pleasure in The Decision is much stronger then that in the play The Resistible Rise of Arturo Ui. In order to increase the pleasure in the comedy Drumms in the Night, the elements of the closed or traditional drama had to be modified. Brecht handels the fable according to the pleasure that forms the matrix of the theater, even when that means that Bertolt Brecht holds with that on the traditional theater. In the middle of the fable he tries to bring the convertibility of the situations in the story closer. Nothing is predetermined, but rather depends only on the circumstances and acts of the society. It is decisive that Brecht's comedy demonstrates the fable in form of a traditional play, while the comedy in The Decision reports through four agitators, and in the parable play in the middle of prologue summarized in a memory is the fact that the war history of Germany up until this point was already well-known. Yet again, the fable in The Desicion will be illustrated as the most epic, because she is going to be presented in a form of a report, in which past, and completed actions are being told in past tense. The epic burden of the past can be sensed in the other two plays, given that in one lady Balicke did not succeed in getting over Weimarer Emperor, and in the other the mobster, the Ceaser, and Shakespeare are held as ideals. As a result the past affects individuals, and now should the audience be enticed into critical thinking, and in the future act different, thereby is not allowed to emphatize with the characters. That emphatizing of the audience is prevented by Brecht with the immaginary alienation effect, that unfolds in the work process, stage realization, and the play. The alienaton effect is accomplished by transfering the political plays abroad, and actors wearing masks during the scenes. Also, the roll change, such as in The Desicion, makes the emphatizing with the charackter even harder. Embodiment of two different personalities in one charackter, like for example the one in the parable play or the comedy, belong to the allienation effect. The effect, that should prevent emphatization, so that the audience can criticaly and rationaly think did not succed in any of the three selected plays to fully prevent catharsis. After extensive theoretical study of Brecht‘s epic theater, and the analysis of his practical work form different eras, we have determined that Bertolt Brecht turns against traditional theater, but still uses the fundamental elements for his „new“ theater. He modifies those raditional elements, but despite everything forms Aristotelian theater the foundation for his epic theater. Therefore can we not speak of a „new“ or „modern“ Theater, but rather about a branch-off from a Aristotelian drama.